Smith-Ary makes this skimpy but thoughtful introduction to Sandburg’s poetry a personal one, both by folding in two poems by other poets, and by illustrating the selections with scenes of the white-haired Sandburg happily entertaining a visiting group of children—plus an occasional zebra—on the North Carolina farm where he spent the latter years of his life. Yes, the oft-reprinted “Fog” is here, but the other poems are less well known: the poet addresses a bluebird in “Bluebird, What Do You Feed On?” advises readers to “Try Being A Goat,” notes that “Spring” is a good time to look at the world from fresh new angles, orders “Milk White Moon, Put the Cows To Sleep,” then closes with the suggestion that there are many ways to spell “Good Night.” Smith-Ary’s art, crayon on acetate and then more crayon, has child appeal galore and it captures the relaxed and comfortable side of the poet who sometimes sang with the children who visited. It’s just a sip of Sandburg, but a rich one, and an old but outstanding collection, Rainbows Are Made (1982), is waiting in the wings for children drawn to his distinctive voice and sensibility. (Poetry. 6-10)

Pub Date: Nov. 1, 2001

ISBN: 1-55037-680-2

Page Count: 24

Publisher: Firefly

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Oct. 15, 2001



A little girl is going with her daddy to visit the home of Langston Hughes. She too is a poet who writes about the loves of her life—her mommy and daddy, hip-hop, hopscotch, and double-dutch, but decidedly not kissing games. Langston is her inspiration because his poems make her “dreams run wild.” In simple, joyful verse Perdomo tells of this “Harlem girl” from “Harlem world” whose loving, supportive father tells her she is “Langston’s genius child.” The author’s own admiration for Hughes’s artistry and accomplishments is clearly felt in the voice of this glorious child. Langston’s spirit is a gentle presence throughout the description of his East 127th Street home and his method of composing his poetry sitting by the window. The presentation is stunning. Each section of the poem is part of a two-page spread. Text, in yellow, white, or black, is placed either within the illustrations or in large blocks of color along side them. The last page of text is a compilation of titles of Hughes’s poems printed in shades of gray in a myriad of fonts. Collier’s (Martin’s Big Words, 2001, etc.) brilliantly complex watercolor-and-collage illustrations provide the perfect visual complement to the work. From the glowing vitality of the little girl, to the vivid scenes of jazz-age Harlem, to the compelling portrait of Langston at work, to the reverential peak into Langston’s home, the viewer’s eye is constantly drawn to intriguing bits and pieces while never losing the sense of the whole. In this year of Langston Hughes’s centennial, this work does him great honor. (Poetry. 6-10)

Pub Date: Feb. 1, 2001

ISBN: 0-8050-6744-2

Page Count: 32

Publisher: Henry Holt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Feb. 1, 2002


With an eye toward easy memorization, Katz gathers over 50 short poems from the likes of Emily Dickinson, Valerie Worth, Jack Prelutsky, and Lewis Carroll, to such anonymous gems as “The Burp”—“Pardon me for being rude. / It was not me, it was my food. / It got so lonely down below, / it just popped up to say hello.” Katz includes five of her own verses, and promotes an evident newcomer, Emily George, with four entries. Hafner surrounds every selection with fine-lined cartoons, mostly of animals and children engaged in play, reading, or other familiar activities. Amid the ranks of similar collections, this shiny-faced newcomer may not stand out—but neither will it drift to the bottom of the class. (Picture book/poetry. 7-9)

Pub Date: March 1, 2004

ISBN: 0-525-47172-3

Page Count: 32

Publisher: Dutton

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Feb. 15, 2004

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